US Vogue November 2003 : Uma Thurman by Annie Leibovitz

"Vogue/VH1 Fashion Superstars: A Date with Diddy"
Model & Star: Karolina Kurková & Sean "Diddy" Combs
Photographer: Arthur Elgort
Sittings Editor: Jessica Diehl




"Vogue/VH1 Fashion Superstars: It's a Cinch"


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"Vogue/VH1 Fashion Superstars: Flower Power"
Designer & Model/Star: Carolina Herrera & Katie Holmes
Photographer: Arthur Elgort
Sittings Editor: Jessica Diehl
Hair: Oscar Blandi
Makeup: Jake Bailey


"Vogue/VH1 Fashion Superstars: Next Year's Models"
Models, Star & Photographer: Carolyn Murphy, Elizabeth Hurley, Liya Kebede & Mario Testino


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"Vogue/VH1 Fashion Superstars: Me and My Soulmate"
Model/Star & Designer: Sarah Jessica Parker & Narciso Rodriguez
Photographer: Noel Federizo
Hair: Serge Normant
Makeup: Laura Mercier


"Vogue/VH1 Fashion Superstars: Kick-*** Style"
Model: Karolina Kurková
Photographer: Craig McDean
Fashion Editor: Grace Coddington
Hair: Orlando Pita
Makeup: Gucci Westman
Set Designer: Mary Howard




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"Vogue/VH1 Fashion Superstars: Zac Attack"
Model/Star & Designer: Joy Bryant & Zac Posen
Photographer: Robert Fairer
Sittings Editor: Jessica Diehl
Makeup: Billy B.


"Vogue/VH1 Fashion Superstars: The Lady is Divine"
Model/Star: Renée Zellweger
Photographer: Steven Klein
Fashion Editor: Tonne Goodman
Hair: Orlando Pita
Makeup: Polly Osmond


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"Vogue/VH1 Fashion Superstars: Cool and the Gang"
Director & Designer: Sofia Coppola & Marc Jacobs



"Vogue/VH1 Fashion Superstars: Walk This Way"
Model & Designer: Kate Moss & Manolo Blahnik
Photographer: Jonathan Becker
Sittings Editor: Alexandra Kotur
Hair: James Brown
Makeup: Aaron de Mey


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"American Splendor"
Models: Élise Crombez, Unknown & Karen Elson
Photographer: Arthur Elgort
Fashion Editor: Grace Coddington
Hair: Didier Malige
Makeup: Gucci Westman
Masks Designer: Michael Roberts
Set Designer: Mary Howard
Production on Location: Jenny Landey









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"Extreme Makeover"
Photographer: Jonathan Becker
Sittings Editor: Alexandra Kotur






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"Welcome to the Town House"
Models/Subjects: Jeanne Greenberg Rohatyn, Katy Grannan, Ella Grannan, Paula Hayes, Malerie Marder, Kara Hamilton, Laurie Simmons, Aida Ruilova & Paul Graham
Photographers: François Halard & Norman Jean Roy
Sittings Editors: Miranda Brooks & Phyllis Posnick








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"Taster's Choice"
Photographer: Irving Penn
Sittings Editor: Phyllis Posnick



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"Chasing the Blues"
Models: Angela Lindvall, Liya Kebede, Daria Werbowy, Eugenia Volodina & Élise Crombez
Photographer: Terry Richardson
Fashion Editor: Camilla Nickerson
Hair: Jimmy Paul
Makeup: Diane Kendal






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Daria’s US Vogue debut :heart:

There’s also a really nice front of book editorial by Meisel in this issue.

Overall quite a good issue. I really like the Arthur Elgort ed. Especially that shot of Karen by the fire place is to die for :heart:
 
Gorgeous goddess-on-the-mountaintop covershot— absolutely ruined by the wall of coverlines that look like poor Uma is behind bars.

I can’t stand how ingeniously creative Annie was back then: The shot of Uma being hosed down in a gown is so simple, raw and masterfully composed :sigh: Nowadays, Annie just shoots the stars standing there and gets someone to cut and paste them onto some cheap royalty-free backdrop (like the current Jan American Vogue eyesore) and people get excited… :deep sigh:

BTW, the male model in the supreme “American Splendor” is Johnny Zander. Loved this guy growing up: He wasn’t the typical, unreal beauty that defined male models back in the 90s. He was skinny, street, hustling and busting with personality and character. The likes of Johnny, Kate, Stacey Mckenzie, Jenny Shimizu and Irina Pantaeva will always define a very specific new mood and fresh attitude of the late-90s/early-2000s that remains influential to this day.
 
Some of my favorite models in that group shot in Chasing The Blues :heart:.. such a great year for models and fashion, even though you almost can't tell cause Vogue always had the most watered down selection of.. pretty much everything.

Shaking my head at Extreme Makeover.. what a s*itty assignment of shamelessly proselytistic journalism only months after the invasion started and all the marches, with a beauty academy as the main subject.. of all things, cause that's how you get to every Vogue reader's heart, right? all that nails, eyeshadow talk. I'm baffled when I read comments nowadays that condemn any criticism of Ana like 'she's been doing this for years and is the most powerful women in her field so!' as if that said anything when mingling political agendas and lobbyists with fashion and the arts (who else is on top of their game and done so much for the arts? the Sackler family).. everything she's touched, for as long as I can remember, reeks of hypocrisy and callousness.. it's a shame you can always count on a new generation to scrape off the past (or certainly put it aside if it's ruining the fun by making you read between the lines in present actions) and just echo and nod at whatever she decides to temporarily endorse on her magazine and its social media.

They should've reprinted that for their ~values~ issue, with, you guessed it, A rose in the desert. :lol:
 
They should've reprinted that for their ~values~ issue, with, you guessed it, A rose in the desert.

It's incredible how that imbecilic decision to produce and publish that piece has had so little consequence for AW.

I found this rather self-serving explanation from Joan Juliet Buck

She regrets it now, of course: “I wish I had not taken the assignment, but when you’re under contract to a magazine – you accept the assignment and then you do them,” she says. Her attitude feels almost naive, coming from an era before social media opened up the industry to the world around it, and forced its insiders to better consider their decisions: “I thought I would see some really interesting ruins [Palmyra] that I would never have access to otherwise in my life,” she says, and is keen to point out that the cringe-making headline – “A rose in the desert” – was placed on her article after she submitted it
 
^^^ The photography is rather generic. However, Amber does looks incredible: I’ve never seen her so lusciously curvy.

The new model army of the early-2000s were a tad too clone-like for my taste. Terry’s shot of the women all lined up — all beautiful and all photographed like a dream for sure… but, just that shot of the women alone is rather obvious how they all seem to blend into one another: Same face shape, and similar features. I couldn't for the life of me distinguish Daria from many other face.

Now the ones that came before them— the ones that rose to legendary prominence in the 90s and now have cemented their iconic status in the model parthenon, and Karen and Amber being in that league; such distinct individuality and force of presence. Even with the guys: at one end of the spectrum, there were the classically handsome ones like Alex Lundqvist, Tyson Beckford, and Mark Vanderloo… and on the equally high standard of the other side of that spectrum were the likes of Johnny Zander, Jason Olive and Ryan Locke. They were all so distinct and equally gorgeous. Are there even any guys in 2020 that are on the same level of distinction...???
 
Thank you @Phuel for the id of the male model y i can't believe about the Buck's anecdote about the article "Extreme Makeover" & still today, the problems on Middle East persist after on that year & the start of the "arabic spring" 10 years ago.
 

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